I'm glad that the news actually looks like news this season, instead of overly cinematic staging that is called "news."

You know, I'd really just like an album. I'm not interested in this elaborate roll out. Please just give me some damn music, whenever it's good and ready. Thank you.

I really liked seasons three and four, but none have been as watchable as season one.

It didn't seem like it was making light of sexual consent at all. It seemed like that one dude still felt entitled to sex, even if he did it "the feminist way." It's the idea that men will always want and feel the same ways, but just go about it in sheep's clothing.

THE YAMS BROUGHT IT OUT OF RICHARD PRYOR!!!

That's the other crazy thing. Last season nailed the romance beautifully, but this one doesn't work at all.

I have more to say on this next episode, but this storyline is super disappointing. For a show this smart, I really feel like Ansari and Yang wanted to make an Allen/Ephron romance, but couldn't bring any life or wit of either artist.

I'm saying millennials can be humorless. Morrissey is super funny and biting in a way that is less commonplace with younger people. Also, I love Frank Ocean. I appreciate his vulnerability enormously. Of all of his peers, he reigns supreme.

Frank Ocean is gonna run out of good will to the point where we'll have to call him Frank Puddle.

It's close to home, and near the bone, but not too much so.

That's actually an apt comparison, but yes. He's a millennial Morrissey. Very self-serious, with postmodern sentimentality—hell, his debut mixtape is called Nostalgia ULTRA—and largely humorless. But also totally brilliant, despite his more off-putting characteristics.

That too, but the way this show has decided to dramatize text messaging—when everything else has been really exciting and clever—is pretty disappointing.

I've said this in previous comments about the show—Master of None has a propensity for leaning into big, emotional moments. "Thanksgiving" turns this on its head. The climax comes early, but rest is so much smarter. It's the idea that familial relationships are always slow to change—for better and worse. The people…

Good. That shit's weak.

Sonic the Hedgehog Youth? How did I forget?

This is a job… for Arcade Fire.

Exactly. If all a person has seen is Oldboy, then sure. It's awesome. Yet, it's arguably his second or third weakest film.

Ugh. Park Chan-wook's such a great filmmaker.

The Handmaiden is kind of like Arrival—minus the aliens, and adding more sex and costumes.

I love Bong Joon-ho to pieces, but he's not the right person for this story.